Saturday, September 27, 2025

Steven Pinker's latest book [and the limits of psychology and beyond]

This is a peculiar and interesting discussion. The first hour and a quarter are about Pinker's latest book, When Everyone Knows That Everyone Knows..., and then we have half an hour when Bialik and Cohen push Pinker on spiritualism, transcendent experiences, and the like. It's a peculiar juxtaposition. Though I have a bit of sympathy with Bialik and Cohen, my own position is closer to Pinker's.

The Rising Risks of Cancel Culture & The Psychology & Language That Built It!

In this explosive episode of Mayim Bialik's Breakdown, Dr. Steven Pinker (renowned Harvard psychologist and author of When Everyone Knows That Everyone Knows) joins Mayim Bialik and Jonathan Cohen for a no-holds-barred conversation that quickly turns into a fiery debate on the limits of science, belief, and human consciousness.

From the hidden mechanics of social dynamics and language to the perils of thought policing and cancel culture, Dr. Pinker dives deep into how shared knowledge shapes society, why what people think others believe can shift power, and how social media became a modern-day coliseum for public shaming.

But the sparks really fly when Mayim and Jonathan challenge Pinker’s staunchly materialist worldview — questioning whether extrasensory perception (ESP), near death experiences (NDEs), and higher consciousness might point to something beyond the reach of scientific instruments. Pinker doesn’t hold back, offering his sharply skeptical takes on mystical claims and pushing back against spiritual notions with cool-headed logic.

Dr. Pinker also breaks down:

  • Why what others think of us actually matters
  • Dangers of being too direct or too indirect — especially for neurodivergent folks
  • How to create or hide common knowledge in relationships
  • The first case of cancel culture on social media (and its ancient roots!)
  • The thin line between freedom of speech and incitement to violence
  • How distrust in science fuels conspiracy theories
  • Can we depoliticize science? Or is it already too late?
  • The danger of defunding academic research
  • Why authoritarian regimes fear open communication
  • The healthcare system: overprescription, profit motives, and how to fix it
  • Is free will real? Or are we just dancing to the tune of biology and environment?

Don’t miss MBB's first-ever toe-to-toe spiritual showdown between Mayim, Jonathan, and a die-hard materialist. Whether you lean scientific, spiritual, or somewhere in between, this conversation will challenge what you think you know about reality.

CHAPTERS:
00:00 - Intro
04:04 - How Shared Knowledge Shapes Society
17:09 - Why What Others Think of Us Actually Matters
29:46 - What Happens When We Disagree on Moral Order?
38:51 - Dangers of Erosion of Trust in Institutions
52:40 - Freedom of Speech vs Incitement to Violence
1:00:45 - Dangers of Politicizing Science
1:05:10 - Dangers of Defunding Academia
1:11:52 - Mental Health System Challenges
1:17:15 - Mysticism vs Materialism Debate

Saturday, September 20, 2025

We need a new set of concepts (ontology) for talking about AI

From deeper into this long tweet:

The way people talk about future AIs/AGIs feels like a category error. Sometimes they reify future systems as self-sovereign entities with their own goals and incentives, a different species that we need to learn to co-exist with. I think that's not impossible, and I used to be a lot more sympathetic to this view, but I'm a lot less certain now and it's certainly not self-evident. Agents can still be tools, and tool agents that operate along timelines don't need to necessarily be 'separate species'-like. [...]

To me at least, AGI will likely be a distributed ecosystem of different models, built by different companies and state actors, with different capabilities, architectures, and incentive structures.

Friday, September 19, 2025

Sutan's First Day of American School!

The Lie At The Heart Of Modern Conservatism (w/ Heather Cox Richardson)

YouTube:

NOTE: This livestream was recorded on Wednesday, September 17th at 3pm ET.

Is Trump and MAGA the inevitable endpoint to conservatism in America? JVL was joined by Heather Cox Richardson to discuss the state of conservatism in American politics.

The discussion gets really interesting around 21 minutes or so when Heather Cox Richardson advances the idea that the collapse of the Soviet Union is what began the slide toward the highly polarized society we now have.

Thursday, September 18, 2025

Sen. Mark Kelly: Tech Companies Should Help Pay for AI Impact | Pivot

YouTube:

In this Pivot Quick Take, Sen. Mark Kelly makes the case for his "AI for America" plan, calling on tech companies to fund job retraining and infrastructure as AI reshapes the economy — plus how he personally uses AI in day-to-day life.

Saturday, September 13, 2025

Kara Swisher Talks Elon Musk, Tim Cook And The 'Non-Capitalist' Behavior Of Tech Leaders

From YouTube page:

Sep 10, 2025

In an interview with Forbes Women, editor Maggie McGrath at the 2025 Forbes Power Women's Summit, legendary tech journalist Kara Swisher gives her unfiltered take on the people and trends shaping the future.

General comments about Silicon Valley start at about 12 minutes or so.

Thursday, September 11, 2025

The Greatest Night in Pop [Media Notes 174]

Ian Leslie writes about The Greatest Night in Pop, a documentary about the making of "We Are The World." The opening paragraphs:

The Netflix documentary, The Greatest Night In Pop, tells the story of the making of We Are The World, the 1985 charity single featuring (almost) everyone in American pop at the time: Michael Jackson, Lionel Richie, Stevie Wonder, Bruce Springsteen, Bob Dylan, Diana Ross, Cyndi Lauper, Tina Turner, Billy Joel, Dionne Warwick…the list goes on and on.

The documentary is based on hours of footage from the night they recorded the single, only a few minutes of which was used for the original music video. The Greatest Night In Pop (TGNIP) came out eighteen months ago, and while millions of people have viewed it, I’m constantly surprised to learn that many have not. Everyone should.

If I had to recommend a documentary or just ‘something to watch on TV’ for absolutely anyone - man or woman, old or young, liberal or conservative, highbrow or lowbrow - I’d recommend The Greatest Night In Pop. It may not be the deepest, most profound ninety minutes of TV, but it is irresistibly enjoyable. And actually, like the best pop, it is deep; it just doesn’t pretend to be.

Diversity and roles:

I’ve written before about how diversity needs to be interpreted beyond demographic attributes like race and gender to temperament and personality. The British management researcher Meredith Belbin constructed a famous inventory of behavioural types which together make up a successful team: the Resource Investigator, the Coordinator, the Shaper, the Catalyst, and so on.

TGNIP prompted me to come up with an inventory of my own: the Decider, the Connector, the Conscience, the Old Buck, the Disrupter, the Weirdo, and the Lover.

The players:

  • The Decider: Quincy Jones
  • The Connector: Lionel Richie
  • The Conscience: Bob Geldof
  • The Old Buck: Smokey robinson
  • The Disrupter: Stevie Wonder
  • The Weirdo: Bob Dylan
  • The Lover: Diana Ross

H/t Tyler Cowen.

Turning Point, fireworks, coffee

AI task length is increasing

Saturday, September 6, 2025

Friday Fotos on Saturday: Manhattan as seen from Hoboken, 2014

Mom – The family sitcom has come a long way since the 50s and 60s [Media Notes 173]

Mom (2013-2021) showed up on my Netflix feed sometime within the last month. I saw Allison Janney on the clip, a plus, as I liked her as C.J. Craig in The West Wing. I saw it was a sitcom. I’m certainly in the mood for a sitcom. And that title proclaimed, “family wholesomeness,” and yes, that’s there. But it’s not the wholesomeness of the sitcoms I grew up with. 

From the Wikipedia entry:

Set in Napa, California, it follows dysfunctional mother/daughter duo Bonnie and Christy Plunkett, who, after having been estranged for years while both struggled with addiction, attempt to pull their lives together by trying to stay sober. [...] Mom received acclaim from critics and audiences for the writing and performances (particularly Janney's), as well as for addressing real-life issues such as: alcoholism, drug addiction, teen pregnancy, addictive gambling, homelessness, relapse, cancer, death, erectile dysfunction, domestic violence, overdose, palsy, rape, obesity, stroke, ADHD and miscarriage; and for maintaining a deft balance between the humorous and darker aspects of these issues.

Whoa!

I grew up with, for example, Father Knows Best:

The series, which began on radio in 1949, aired as a television show for six seasons and 203 episodes. Created by Ed James, Father Knows Best follows the lives of the Andersons, a middle-class family living in the town of Springfield. The state in which Springfield is located is never specified, but it is generally accepted to be located in the Midwestern United States. [...] As before, the character of Margaret was portrayed as a voice of reason, and Jim's character was that of a thoughtful father who offered sage advice in response to his children's problems. A responsible man, he loved his wife and children and would do whatever he could to give them a better life. Jim was a salesman and manager of the General Insurance Company in Springfield, while Margaret was a housewife. Their home was located at 607 Maple Avenue. One history of the series characterized the Andersons as "truly an idealized family, the sort that viewers could relate to and emulate." As the two eldest children aged from teenager to young adult, Betty (1956) and Bud (1959) graduated from high school and attended Springfield Junior College.

That’s a different world, very different.

I wonder how much daytime soaps changed over the same period?

BTW, I’ve now finished the first two seasons (of eight) of Mom, and will continue watching, though I don’t know whether or not I’ll go the distance. All that stuff that Wikipedia passage mentions, I’ve seen much/most of it in these two seasons. It’s light and enjoyable, which is what I was looking for. That is to say, it really is about family solidarity, even if the families involved are dysfunctional and centered on single moms. Every episode has one, two, or three scenes in an AA meeting. So we’ve got scenes of dysfunction in action, AA meetings (for a little distance), and reconciliation. For the most part, it works.

Thursday, September 4, 2025

How the Clark Family Creative learns a song in a day

YouTube:

Behind the Scenes: How We Learn a New Song in One Day

Hey guys! Tonight we have our most requested video! We explain how we learn a new song in one day. During the 2020 quarantine when we started, we were learning 4 or 5 songs a week but we modified the arrangements to their skill level at the time. The kids were done with homeschool and it was something fun that kept us sane during a very chaotic time. As the world started opening back up and the years went by we gradually decreased the new songs/videos to twice a week but with more difficult arrangements. The days that we film the songs start with a morning drive (and coffee) around a pretty neighborhood we all love. We listen to a playlist that we’ve all added songs to and come up with one that we all like for the day. Once we choose the song, we head back home. Cash and Beckett spend about 15 minutes on their own learning their parts. Colt and Cash will work together on guitar tones and getting the guitar sound perfect. Then Colt will work with Bellamy on her bass part. She can usually learn that in about 30 minutes. Next Colt will play with Beckett, working on the breaks and fills. The order that he works with them can be subject to change based on whether we have homeschool that day. Lastly we run the song all together around 3 or 4 times and film it right after. We hope you enjoy this little behind the scenes video of our process. Also, if you’re local to the Tampa Bay area, we’d love to see you at our show at Hutchinson Auditorium on Florida College’s campus on 9/20 at 7pm. I’ll leave the link below. Hope to see you there!

Playful conversational riffing is the way to connect

Maya Rossignac-Milon and Erica Boothby, You’re Probably Doing Small Talk Wrong, NYTimes, Sept. 4, 2025.

There’s a moment in human connection that defies easy explanation — that sudden, electric feeling when you meet someone and feel your minds merge. It happened to the two of us when we met at a psychology symposium: Our small talk during a break quickly gave way to playful theories about coffee drinkers versus tea drinkers. We went to find seats together, unaware that this conversation was the start of a decade-long collaboration and friendship.

Where does that spark come from, exactly? What makes someone feel like a lifelong friend after just a couple of minutes? People tend to assume it’s similarity: that they are especially likely to hit it off with someone who shares their background or personality traits.

But in our research, we’ve found that many of the strongest bonds come less from pre-existing similarity and more from riffing playfully. In these moments, people create a little world that belongs just to them, a process we call “building a shared reality.” Collaborative riffs are surprisingly central to our mental well-being: They’re the glue that binds us together, adds color to our lives and gives us a sense of purpose.

And yet, our culture’s conversational rituals revolve not around playful co-creation, but around exchanging formalities.

The art of riffing:

Riffing doesn’t require being naturally funny or witty, just being attentive and embracing spontaneity. Like any conversational skill, it takes practice. When riffing, speakers resist the urge to counter every observation with their own separate example, instead building bridges to new ideas (“That reminds me of. …”) or tossing in a “Can you imagine if …?” They reference earlier parts of the conversation to create inside jokes (“Looking forward to our miniature potluck committee!”).

Riffing isn’t just for new acquaintances. Over time, it creates a feeling of having merged minds and inhabiting a private universe. Patti Smith described her relationship with her late husband as the “silent synchronization of the jewels and gears of a common mind.”

There's more at the link.

Three autumn views

The Japanese Anime Invasion

Joshua Hunt, How Anime Took Over America, The New York Times Magazine, Sept. 3, 2025. Selected passages.

From the opening:

Like the name Walt Disney, the word “anime” brings to mind not just an aesthetic but a distinctive storytelling ethos. My own first encounter with anime was at a middle-school sleepover in the mid-1990s, where I watched a bootleg VHS copy of the Japanese anime film “Akira.” It was mesmerizing.

Katsuhiro Otomo’s dystopian masterpiece was unlike anything my friends and I had experienced. The film held us in its thrall from the opening scene, in which Tokyo is silently swallowed up by a nuclear-scale blast that eventually gives birth to Neo-Tokyo, populated by biker gangs, mystics and powerful psychic beings who are the worst-kept secret of a crumbling military bureaucracy. “Akira” (1988).

Everything about “Akira,” from its gamelan-inspired soundtrack to its unusually complex characters, seemed fresh and exciting — it was so new, in fact, that Americans had not yet agreed on what to call it: anime, Japanime or Japanimation. This inability to define the form did no harm to its countercultural appeal. By 1996, Roger Ebert had called anime “the fastest-growing underground cult in the movie world.”

Ebert was especially impressed by “Akira” and Mamoru Oshii’s “Ghost in the Shell,” whose imagery and themes — cyborg police officers, hacker terrorists and the nature of identity in a technologically advanced society — would inspire the filmmakers behind “The Matrix.” It’s now clear that the thrill of these early anime imports was tied to the way they anticipated the contemporary world, offering a glimpse of a more connected, paranoid and altogether less stable planet years before we got here.

Conforming to American standards:

As an added challenge, writers had to come up with inventive ways of placating the standards departments that policed American television broadcasts. “The Bible Belt is what you had to think of as your audience,” said the voice actor Terry Klassen, who also worked as a writer on some “Dragon Ball Z” scripts. “So anything that had to do with Eastern prayer or looking to the heavens or having different levels of spiritualism, you had to change that, take that all out and sort of make it a more nonreligious quest.” Sometimes this meant altering a character’s name — from Mr. Satan to Hercule, for example. But other times it meant rotoscoping — a technique for tracing over footage — to make changes as innocuous as transforming beer into orange juice.

Funimation and Cartoon Network:

Before partnering with Cartoon Network, Funimation had shopped “Dragon Ball Z” to networks like ABC, which passed. “They said that the cartoons in the U.S. need to be like ‘Scooby-Doo,’ where every show has a beginning and end and you don’t need to worry about the next one,” said Daniel Cocanougher, a founder of Funimation. “This episodic-type stuff, it doesn’t work in the U.S.,” he recalled the network saying. “Dragon Ball Z” would end up being the first blockbuster anime series on American television.

Toonami picked up the first 56 episodes for a daily after-school broadcast that started in 1998. It was an immediate hit. “Within a year, we were the No. 1 show on Cartoon Network and helped take them from 40 million households to 80 million households,” Cocanougher told me. Just a few years after its debut on Toonami, he said, the series had helped make Funimation the fifth-largest distributor of VHS tapes and DVDs in the United States, just behind Columbia and Universal. “There was a generation of kids that got to see a cartoon that took its characters seriously, where people lived and died,” DeMarco told me. “There were real stakes, and people loved and had families, and it wasn’t just reset after every episode.”

The one-two punch of “Dragon Ball Z” and “Pokémon,” which also found success in America, served as a foundation for everything that followed.

Miyazaki:

Shows like “Dragon Ball Z” and “Pokémon” were largely aimed at children; different as they were from American cartoons, they were still cartoons. What got American adults interested in anime was the singular artistic vision of Hayao Miyazaki, who cultivated a large audience among cinaesthetes.

Just a few years before his movie “Spirited Away” won an Academy Award for best animated feature, in 2003, I saw his 1988 film “My Neighbor Totoro” at a small film festival in Minneapolis. Miyazaki’s work changed the way I looked at anime, and animation more broadly, in the same way David Lynch changed the way I looked at cinema; both filmmakers gave free rein to their subconscious and steadfastly refused to choose between style and substance. Winning the Oscar put Miyazaki in the same league as Walt Disney, earning anime the same kind of artistic credibility that Disney had garnered through films like “Bambi” and “Fantasia.”

Black Americans:

From this early stage on, Black Americans were overrepresented in anime fandom. Arthell Isom, whose D’ART Shtajio is Japan’s first Black-owned animation studio, shared his theory with me that Black Americans identified with anime protagonists who often come from the margins of society. Perhaps, he suggested, they were also so used to being absent from the media they consumed that they had an easier time watching and identifying with Asian protagonists than white audiences did.

A decade or so later, the generation of rappers who grew up watching Toonami after school seemed to take every opportunity to announce their anime fandom, from Lil Uzi Vert (“Throw up gang signs, Naruto”) to Megan Thee Stallion [...]

American style:

Like Champagne in France, something can be anime only if it is produced in Japan. But the boundaries of the genre have become blurrier as anime’s stylistic markers show up in the work of American and European animators, beginning as early as 2005 with Nickelodeon’s “Avatar: The Last Airbender,” which replicated the look and feel of anime but was made in the United States. More recently, American shows have been retrofitted into anime. The popular American cartoon series “Rick and Morty,” for example, shows few obvious anime influences, but its creators are such big fans that in 2024 they debuted a stand-alone series called “Rick and Morty: The Anime,” which was produced in Japan by a seasoned animator.

The trend toward reworking Western intellectual property as anime is accelerating. When I visited Isom’s animation studio in Tokyo, he had recently finished work on a “Star Wars” anime for Lucasfilm. And in November, when I met Gianni Sirgy, a content creator who helps run a TikTok channel called TheAnimeMen, he told me that he had been hired to help promote a “Lord of the Rings” anime film produced by Warner Bros. Entertainment. This made me wonder: Now that anime is truly mainstream, will the form’s outsider appeal be sacrificed as part of a scheme to create yet another delivery system for the same intellectual property that Hollywood has been regurgitating for decades?

There's much more at the link, especially the images, lots of them.

Check the credits:

‘‘Demon Slayer,’’ ‘‘Pokémon,’’ ‘‘Sailor Moon,’’ ‘‘Bambi,’’ ‘‘Revolutionary Girl Utena,’’ ‘‘Ranma ½,’’ ‘‘Dragon Ball Z’’ and ‘‘Rick and Morty: The Anime’’: Screenshots from YouTube. ‘‘Cyberpunk: Edgerunners’’ and ‘‘Neon Genesis Evangelion’’: Screenshots from Netflix. ‘‘One Piece,’’ ‘‘Haikyu!!,’’ ‘‘Akira’’ and ‘‘Dragon Ball Z’’: Screenshots from Crunchyroll. ‘‘Ghost in the Shell’’: Screenshots from Criterion Channel. Weekly Shōnen Jump covers: Screenshots from Comicvine. ‘‘Doraemon’’: Screenshots from Oricon News. Pokémon items: Screenshot from PokémonCenter.

Tuesday, September 2, 2025

Power Plant for Jersey City, December 2007 and July 2014

Energy usage for AI prompts

KPop Demon Hunters [Media Notes 172]

The film is getting a lot of buzz. I like animation & I have some interest in Korean culture, so why not? From the Wikipedia entry:

KPop Demon Hunters is a 2025 American animated musical urban fantasy film directed by Maggie Kang and Chris Appelhans from a screenplay they co-wrote with the writing team of Danya Jimenez and Hannah McMechan, based on a story conceived by Kang. Produced by Sony Pictures Animation for Netflix, the film stars the voices of Arden Cho, Ahn Hyo-seop, May Hong, Ji-young Yoo, Yunjin Kim, Daniel Dae Kim, Ken Jeong, and Lee Byung-hun. It follows a K-pop girl group, Huntr/x,[a] who lead double lives as demon hunters; they face off against a rival boy band, the Saja Boys, whose members are secretly demons.

KPop Demon Hunters originated from Kang's desire to create a story inspired by her Korean heritage, drawing on elements of mythology, demonology, and K-pop to craft a visually distinct and culturally rooted film. The film was reported to be in production at Sony Pictures Animation by March 2021, with the full creative team attached. The film was animated by Sony Pictures Imageworks and was stylistically influenced by concert lighting, editorial photography, and music videos as well as anime and Korean dramas. The soundtrack features original songs by several talents, and a score composed by Marcelo Zarvos.

KPop Demon Hunters began streaming on Netflix on June 20, 2025, while a sing-along version of the film received a two-day limited theatrical release from August 23 to 24, 2025. The film drew acclaim for its animation, visual style, voice acting, writing, and music, and was named a cultural phenomenon by several publications. It surpassed Red Notice (2021) to become the most-watched film in Netflix history with 236 million views, and its sing-along theatrical release was both the widest for a Netflix film and the first to top the box office in the United States, surpassing Glass Onion: A Knives Out Mystery (2022).

I suppose that accounts for the buzz. As for me, in two sittings I didn’t get more than a third into it. It struck me as slick, bland, and bloodless.

Man-machine loop-de-loop

Latour Modern, Not: A Prolegomenon to a Rhetorical Analysis

I'm bumping this post, from April of 2012, to the top of the queue as it is relevant to my current thinking about AI, as expressed in this recent post: Human+machine ensembles.
* * * * * 
 
I am reading Latour’s We Have Never Been Modern. And, yes, it is, as Graham Harman has often said, a remarkable book. But what KIND of a book is it?

An answer from Latour, p. ix: “Having written several empirical books, I am trying here to bring the emerging field of science studies to the attention of the literate public through the philosophy associated with this domain.” So it is philosophy. I guess I expected that, as Harman says Latour is a philosopher, considers himself to be one, and wishes others to think him one. But it is like no philosophy I’ve read, a statement, not an opening for critique. And the level of generality and scope—the relations between humans and things in the world—is of philosophical caliber.

It is for the “literate public”—so this is not, then, a book for specialists. Of philosophical caliber, but not (necessarily) for the professional philosophers. In fact, one has the impression that Latour feels that all too many professional philosophers have covered themselves in such shame that their arguments should not be given the dignity of detailed consideration. Which is perhaps one reason why the book is so short, less than 150 pages.

Philosophy, but not for philosophers. Nor is it a journalistic popularization or a textbook exposition. This is basic stuff, original exposition and argument. New ideas here, never before published in the technical literature of whatever discipline: anthropology, sociology, history, political science, philosophy.

* * *

I can imagine another reason for the short book, an active reason, a rhetorical one. Perhaps Latour thought the ideas would hold together more effectively if you could read through them expeditiously. 

Think of your mind as a pond. Reading an idea is like dropping a pebble in the pond. When the pebble crosses the surface it sets up a wave that propagates across the pond. In time, the wave will die out. If a second pebble drops before the first wave has dissipated, then the two waves will interact. And a third, a fourth, and so on. If a book is short, there is a better chance that the first wave will still be active when the final pebble drops, allowing for all the ideas to interact together in real time.

Perhaps that is why the book is short. To have written a longer book, with more detailed arguments, more detailed examples, would have stretched the ideas beyond the breaking point. Rending the book incomprehensible.
(In which case I am, alas, in trouble, as I am reading it slowly.)
* * *

And then there is the conceit with which Latour names Chapter 2, Constitution. The whole book is staged as a constitutional convention. We have the humans, and their society, and we have the things, in nature. The constitution is about the relations between the humans and the things, the translations that connect them through ever longer networks and the purifications that pay the bills. The Moderns inaugurated a certain Constitution and that Constitution is now in tatters.

Largely as the inevitable result of the success of the Moderns’ various endeavors. It seems that the above ground monuments they burnished so brightly required the support services of underground tunnels running every which way. Now the ground is so riddled with tunnels that the monuments are leaning and falling.

This Convention, of course, is nothing less than the philosophically venerable conceit of the social contract. Sometime in the past, so we pretend, the ancestors got together, talked, told jokes, jawboned, chewed the fat, ate some knishes, smoked a couple of pipes, sang the old songs and danced the old steps and, in time, drew up a compact according to which they bound themselves into the future.

The Moderns, of course, didn’t actually do this. But that’s Latour’s conceit. And it helps, I suppose, that one of his star barristers, Thomas Hobbes, is a major theorist of the social contract, named after an Old Testament beast, Leviathan.

But what’s the point of using this conceit? What’s it allow Latour to do? If he didn’t have this conceit available, how would he have written the book? Would it have become a 600 page tome? Of would it have become impossible?

* * *

In courts of law, so I’m told, exhibits are introduced through testimony by witnesses. Witness, of course, are humans. They can speak, or otherwise communicate ideas and judgments. In courts of law, of course, they do so under oath.

Exhibits are things, anything: articles of clothing, weapons, photographs, meter readouts from scientific instruments, sound recordings, clumps of dirt, what have you. The things cannot talk, but their testimony may strike deeper than the words of the humans.

Such language of witnessing and speaking comes naturally to Latour, it’s of a piece with the legalistic fiction of the constitution. Evidence, of course, is as much a scientific as a legal notion.

* * *

You know the method of loci, the memory technique? First you memorize a path through a large and complex building, a temple was often recommended. Along this path would be many places, the loci, such as wall niches, doorways, corners, and so forth.

To memorize a list of items one calls up this prepared path and starts walking through the building. When you get to the first locus, you place the first item (to be remembered) there; you move to the second locus and deposit the second item there; and so forth until everything has been placed in its own locus. To recall the list, simply enter the temple and walk the path, retrieving each item from its locus.

Well, Latour’s Constitutional conceit is analogous to the path through the memory temple. It’s a device. His task is more complex than that of memorizing a list, and so his device is more complex.

Still, it’s a device. In the language of J. J. Gibson, the father of ecological psychology, what affordances does this device have?

As I see it, it’s as though this virtual Constitutional Convention is mostly a conversation among humans about how they’re going to talk and think about relations among humans and non-humans. In the end, though, in that Parliament of Things that Latour leaves to his successors, does he not want the Things to be among the constitutional conveners?

* * *

I am thus suggesting that a rhetorical analysis of We Have Never Been Modern would be useful. But we must be careful, as the tools of rhetoric have, in recent years, been commandeered by devotees of critique and linguistic turning. And it is not critique that I have in mind.

I simply want to know: What’s going on?

Wetlands, city scape, the Statue of Liberty, and a scraggly tree

Traffic at New Savanna remains up, but very spikey

Where’s it going? During the middle of the month – look at the 30-day chart below – I thought that maybe things were settling down after the dramatic action of July and June.

As you can see, however, things began shooting up in the last week of August.

Here’s the 12-month view:

And here’s the all-time view:

Notice that we’ve crossed the 2 million mark for the first time.

As for Academia, the action’s been moving back and forth between the 99th and 99.5th percentile.

Sex in America has been declining since 1990

Grant Bailly and Brad Wilcox, The Sex Recession: The Share of Americans Having Regular Sex Keeps Dropping, Institute for Family Studies, August 30,2025.

Between trade wars and armed conflicts across the world, there is talk of an impending economic downturn. And while we at the Institute for Family Studies (IFS) are not equipped to forecast an economic recession, we can document a recession that already has America in its grips: the sex recession.

Americans are having a record low amount of sex. We find that in 1990, 55% of adults ages 18–64 reported having sex weekly, according to the General Social Survey (GSS). But around the turn of the millennium, that number began to dip: by 2010, less than half reported having sex weekly, and by 2024, of the more than 1,000 men and women queried on this topic by the GSS, that number had fallen to just 37 percent.

The sex recession has been documented previously, especially here at IFS. In 2016, Jean Twenge found that the decline is largely a cohort effect — younger generations are having less sex than their predecessors did. The causes? A decline in steady partnering, especially in marriage, and a decline in sexual frequency within couples.

H/t Tyler Cowen.

Human+machine ensembles

This is a coda to a discussion I just had with ChatGPT. It ties a lot of my current thinking to the dive I took into Latour and object-oriented-ontology over a decade ago. ChatGPT did the illustration, of course.

* * * * *

One last speculative remark. Bruno Latour worked hard to collapse the distinction between the human and the natural. It seems to me we’re extending that to the distinction between the human and the computational.

Yes — that’s a sharp way to put it.

Latour’s project, especially in We Have Never Been Modern, was to show that the neat separation between Nature (objective, external, “out there”) and Culture (subjective, human, “in here”) was always a fiction. His actor–network theory insisted that humans and nonhumans (technologies, microbes, texts, rivers) are entangled in networks of agency.

What you’re suggesting is that we’re now seeing a parallel collapse:

  • Just as Latour said there’s no “pure Nature” apart from human mediation, there may be no “pure Computation” apart from human entanglement.
  • The new hybrids — human+machine ensembles — aren’t simply tools on one side and users on the other. They’re actor–networks in which agency is distributed, recursive, and hard to disentangle.
  • In the Fourth Arena, intelligence is enacted in between humans and machines, just as for Latour science was enacted in between humans and nonhumans.

That’s where your metaphysical structure idea dovetails: we can’t step outside and separate the human from the computational any more than we can separate the human from the natural. Both distinctions dissolve into recursive, lumpy entanglement.

And — here’s the speculative push — perhaps play is the mode best suited to this new collapse. Just as ritual, experiment, and negotiation mediated the nature–culture entanglement, play may be the practice that makes the human–computational entanglement livable, creative, and abundant.